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audiovizualnyesmi IN THE MASS CULTURE CONTEXT

The TV and media resources became today the integrated channel uniting in different elements of spiritual culture (a science, art art, ideology, etc.) . The more possibilities at TV appears in the field of integrated models of creativity, the the form and a genre of products of television culture become richer.

Modern teleprograms of a cultural-educational orientation owing to an abundance of styles, forms, formats etc. do not give possibility of clear split of culture on elite and mass. Today the mass culture represents for spectators wider spectrum of "shows" in all spheres of art culture. Under the influence of TV practically all kinds of arts have found the new, nonconventional form of an embodiment both on public, and on the screen, and in the course of reproduction of products of culture (theatrical performances, concerts of classical music) in a teleether have got new aesthetic norms and have lowered level of convention, metaphoricalness and figurativeness. From here there was also new "language" of a telenarration about culture. « Reflexion »culture products on the screen already is secondary and"adapted"for a television aether, and, hence, there is a question: whether everything shown on TV, is"mass culture", but with different levels of a narration?

In this part of our research we will track, in what image the TV and the sector of culture which is responsible for formation of mass values adjoins.

The term "mass culture", is ambiguous: on the one hand, as a mass culture understand low-standard, poor-quality production, on the other hand - the simplified or entertaining information calculated on a wide audience. A mass culture (from the Latin

massa - a clod, a piece and cultura — influence, processing, education, development) - a special cultural phenomenon, independent formation in which often there is a form and maintenance rupture. It is possible to designate some properties of products of a mass culture: they are focused on

Satisfaction of requirements of public, often address to entertainment forms and a scandalous manner of giving of the facts.

Various researchers allocate some levels of a mass culture. So, And. V.Pronkina in the work «National models of a mass culture of the USA and Russia: the cultural urological analysis» speaks about the three-level pyramid which basis represents a layer kitch - production (the low-standard, cheap, insipid work calculated on an outer effect), further - pop culture (reflecting national character). At the top of a pyramid - neoelite culture (multidimensional, deep under the maintenance and uneasy on senses).

V.I.Karp in the book «direction Bases. Introduction» [43 [44] also writes to the direction theory about three-level system of a mass culture:

— Kich-culture (low-standard culture);

— Mid-culture (daily / ordinary culture);

— Art culture (a mass culture, with presence of the art maintenance and aesthetic expression).

Kich-culture — a mass culture in her low-standard display. There are some versions of an origin of a word kich: 1) from a German musical slang of the beginning of the XX-th century: rntsch — on sense "hack-work"; 2) from German verkitschen — to reduce the price; 3) from English forthekitchen — «for kitchen», (i.e.

the subject of bad taste unworthy the best application).

The first displays kicha were widespread in an applied art, «household culture», but in process of the development the area kicha began to grasp all art forms, including the literature, theatre, music, cinema and TV. Thus experts notice, that in each country it is possible to define accurately specific national lines kicha: for example, flat primitiveness American kitcha, a prudish manner of English kitcha, etc. Kich-products usually are under construction on known stereotypes. It is possible to carry to the basic characteristics of kich-culture:

— The lowered, as much as possible simplified giving of a problematics;

— A support for stereotypic images, ideas, plots;

— orientirovannost on a mass audience

Kich is under construction on in advance prepared cliches, does not cause spiritual searches, psychological pressure. The Kich-culture has gained special distribution in a yellow press and on TV. Kich as a mass culture element — the offer of the maximum withdrawal from elementary values and simultaneously — one of the most aggressive displays of tendencies primitivizatsii. Now in many countries prevalence of the kich-culture shown in an abundance of comic programs, such as «Comedy club» (TNT), pseudo-reportings from a life of stars is observed, for example, the program «You will not believe!» (NTV), etc.

The mid-culture differs dual the maintenance: at it there are both characteristics traditional, and mass culture elements. In relation to kichu such form of culture appears higher. It is possible to tell, what exactly the mid-culture sets the fashion, the mass culture is guided by its standards as a whole: «Remove it immediately!» (Television channel "house"), the program "Voice" (the First channel) and others.

The highest level of a mass culture — the art culture calculated on the most formed part of mass public. The art culture main task is the maximum approach of a mass culture to norms and standards of traditional culture: the program «Muses. A dressing down» (television channel "Rain"), «Agency spetsrassledovany» (the Fifth channel), «G alileo» (STS), etc.

Today before TV there is a problem of necessity of increase of cultural level of the spectator. In this case the consumer needs to be brought up by familiarising with the present spiritual culture. Daniel Dondurej in one of the performances asserted, that the present spectator is not able to read out symbols of works of art. Spectators are capable to translate only products in kvazirealnost. Only 2 % of spectators are capable to understand works of art [45 [46]. Therefore today as it is never actual not only development and enrichment of spiritual culture of a society, but also necessity to learn to understand images and culture symbols.

The social phenomena, first of all the culture phenomena, are always unique, izmenchivy and in many respects neopredelenny. Here there are no steady natural communications. It is possible to speak about many only with reference to the natural phenomena. In this connection there is a problem: if natural character of development of a society and its culture how to define the social importance of those or other historical phenomena and their role in development of human culture is denied? If to look at history, neokantiantsy, for example, solved this problem by the reference to a problem of values. At all laws, but always only values, - confirmed Rikkert, - should be applied as a supervising principle of an explanation

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The public phenomena. Values were interpreted as some kind of ideals - reference points of welfare development of a society.

Cultural wealth on TV exists in structure not each telematerial while at level of culture of value are put in pawn in the maintenance of any product. Acceptance of cultural wealth is needs of nature of the majority of the spectator, but not always in a telecast true values and then the illiterate spectator has a replacement of concepts are pawned by the author. And if to remember, that the TV carries out also didactic function, «the poor-quality program» becomes the present dezinformatorom and can harm to a spiritual life of the spectator.

Spiritual needs have this or that social orientation which is defined by character of existing public relations, including moral, aesthetic, religious and others: level of spiritual culture of people, their social ideals, understanding them of sense of own life. Multiplied by will of people, spiritual needs act as powerful incentive forces of their social activity in all spheres of a life of a society.

Essential aspect of life of any society is spiritual consumption - consumption of cultural wealth. Works of art, moral, religious values and so forth form corresponding requirements. Thereby riches of subjects and the phenomena of spiritual culture of a society act as the important precondition of formation of various spiritual needs of the person.

The theory of a postindustrial society allows to understand much in processes of their formation and satisfaction. It is the typical texnocratic theory, and set of such theories makes a direction of a technological determinism. Other theories of the given direction a little than differ from it, represent more likely its various variations. So, O.Toffler, speaking about a superindustrial society, in the works "Futuro-shock" and «the Third wave» draws the mankind future, as a matter of fact, in the plan for development of the same postindustrial society in which, thanks to general automation of manufacture, the consumption level essentially raises and repeatedly the sphere of services extends, disappear ideology and parties.

Spiritual consumption can be spontaneous when it goes nobody in any measure, and the person on the taste chooses that or other cultural wealth. It joins them independently though it occurs under the influence of all way of life of the given society. In other cases consumption can be imposed to people by advertising, mass culture means etc. It leads to averaging and standardization of requirements and tastes of people.

The American historian and political scientist Zbignev Bzhezinsky predicts approach tehnotronnogo a society which should affirm as result of information or computer revolution that will lead to domination of new intellectual, political and scientific elite [47].eto a society will be characterised, in its opinion, not only qualitatively new level of production, but also new psychology and new culture.

Manufacture and consumption of cultural wealth is mediated by spiritual relations. They really exist as the relation of the person directly to that or other cultural wealth (he approves them or rejects), and also as its relations to other people concerning these values - their manufactures, distributions, consumption, protection.

Any spiritual activity is mediated by spiritual relations. Proceeding from it it is possible to allocate such kinds of spiritual relations, as informative, moral, aesthetic, religious, and also the spiritual relations arising between the teacher and the pupil, the tutor and that whom it brings up.

Spiritual relations is, first of all, relations of intelligence and feelings of the person to that or other cultural wealth, and finally, - to all validity.

Modern scientific and technical progress as a whole will transform a social production and serious impact on all spheres of development of a society makes. However it represents only one of factors of public transformation, though both rather important. Development and perfection of a modern society occurs under the influence of many other things conditions - social, political, spiritual. It is necessary to consider value of each of them, and also that they operate not separately, and in a close connection with each other.

The spiritual relations established in a society are shown in daily interpersonal dialogue of people, including family, industrial, international etc. They create as though an intellectual and emotionally-psychological background of interpersonal dialogue and in many respects cause its maintenance. Spiritual relations penetrate a spiritual life of a society from the beginning up to the end.

The TV covers the sphere the majority of kinds of cultural expression in all their variety. One of the main functions of TV - kulturoformirujushchaja. Today to it, in our opinion, as a whole pay insufficiently due attention in media environment. And after all teleprograms in many respects help the spectator to adapt with space of world around by means of the generated reflected reality, and also give the chance to adjust effective interpersonal communications. Following last social tendencies, in a science there was a direction studying cultural science of TV. M.Sapunov in the work with the same name «TV Cultural science» makes definition of this concept. The TV cultural science is an applied science about TV as about a culture phenomenon, specificity of its functioning, character of language, is figurative-sound and information-communicative system, its role in a life of a society and each person. Process of formation of culture is directly proportional to process of formation and civilisation development. From a myth - to folklore, from belief - to religion, from the first technical opening - to general tehnitsizmu. Many researchers insist on individual development of culture in our country, connecting many factors with special mentality, and national traditions of Russian people. Historically [48] round Russia the certain image «the Countries great» (a myth about «to the earth promised»), "Bogoizbrannoj" (Russia - the country cathedral), a special way («Russia - Asia in Europe, Europe in Asia», «Moscow - the third Rome, the fourth - it is not given») was formed. In national character of the Russian person many historians mark such lines, as firmness, diligence, but at the same time - laziness (comparisons with a bear), persistence, diligence, spirituality. The mental field of the Russian culture differs special national character. For example, in music in Russia such genres as bardovskaja a song are formed, Russian fate, Russian chanson, a city romance, etc. Similar genres do not meet in other countries so are easily recognised in the musical environment. Therefore in Russia has appeared also long enough time the program «has existed Play, an accordion!», where many national lines of the people - a wide soul, druzheljubnost, hospitality etc. are reflected

National character frequently "is diluted and gives in to outside influence. The western style of a life, with considerable acceleration of information time inherent in it, consumer and partly to sceptical relations to a life, orientation to becomes a reference point and for inhabitants of the Russian megacities more and more. East style of a life also is copied by the Russian spectator and application in modern architecture, design, in a life - cookeries, music, dances, - with a condition of inevitable national adaptation finds. This process has been started with the beginning of geographical opening and till now is cultivated by means of the television programs devoted, for example, to travel or a fashion.« The intercultural distinctions fixed at level of narrative archetypes, appear are levelled in a masscult context that it is possible to consider as one of effects of cultural globalisation. The whole generations grow on the uniform unified samples of behaviour offered by entertaining narration. Hence, there is a unification of art space and figurativeness collective imagined »[49]. Examples of"intrusion"of alien culture by means of TV became more active possibility of"purchase"of a format of the program. For today there is a set of the formats borrowed partially or completely (« Who wishes to become the millionaire "," Fight of choruses »etc.). The format of"dialogue"with the spectator and interaction of heroes on the screen and behind its border forms special relations with public: dynamics of events, temporitm and other components of a telecast allow to include in television action of spectators and to accept its rules.

Modern scientists address to even more difficult scheme of gradation of today's television products. Division of products as at theatre of the Ancient Greece, on "good" and "bad", occurs now under the influence of the transformed communicative environment. To estimate modern products of culture and their reflexion in television space all it becomes more difficult. Partly it occurs that «the synergetrics of media underlies modern show business». Infotejment, versions interaktiva, shocking in a manner of dialogue with public-is frequent used receptions which help to create similarity «gejmerskoj atmospheres» a television discourse. Game - a basis of public dialogue as a whole and television in particular. « In journalism dokazatelnost and persuasiveness often fall outside the limits logic validity or motivation. Here for a refutation of another's point of view and the statement of the sometimes there is enough only high pathos. That is why the general aspiration of culture to the statement of the through negation of the stranger finds a favorable niche in a mass communication »[50].

All it is brightly shown in development of such form of an existing of a modern aether, as infotejment (infotainment). The phenomenon infotejmenta is conceptually connected with the general decrease in spectator interest to the social phenomena and problems. The similar sign of today assumes search by journalists of other forms of giving of the information when even at translation of the serious information in television programs all of them resort to use of the game beginning is more often. Some authors by means of special elements, television game means have developed own style. Author's transfer it is easily learnt among the general stream. For example, (the program "Recently", films «the Bird Gogol», «300 years of a Russian press», «the Eye Divine») it is simple to learn Leonid Parfyonov's all works «on handwriting of the author», on its style of a telenarration. Use of animation, animated and graphic elements in a combination to real shootings, images of actors and historical heroes do the information evident, legkovosprinimaemoj, actual.

In aspect of television formats infotejment it is applied on - a miscellaneous. Sometimes artificial simplification of a substantial component at the expense of increase in visual effects leads to an information overload of an audience. Journalists of the program "Maximum" (NTV television channel) use such reception. Declaring in the announcement of the program an "investigation" theme, designating a problem in as much as possible expressional "turns", in the maintenance of the plot not only do not resort to an "investigation" method, but also as a whole choose a theme which does not assume investigation. In the program authors often resort to repetition of certain episodes for "complication" absolutely inconspicuous (in the information plan) narrations.

At active development of media resources not only the technological approach to creation of video products varies, but also there is a substantial adaptation of programs to media environment. Even the superficial lingvistiko-semantic analysis of names of radio programs (including) speaks to a cultural orientation about prompt introduction of network forms of dialogue in modern television and radijnyj an aether. Quite often in names of programs the "pun" and "word-play" principle is used.

Considering that after translation projects are in an easy approach for users of a world wide web, they precisely get to a context given logosfery («Карты@Май^и: road bases», "Echonet" - radio «Echo of Moscow»; «LIVErn», «Дзядко3» - television channel "Rain", etc.)

The concept of an aether varies also. Fugacity, odnomomentnost, edinovremennost - all these characteristics became less actual with the advent of network podkastov. Possibility to see and hear to the interesting news, favourite programs during any time convenient for the consumer involves social changes in the culture of televiewing and the leisure organisation as a whole. "Collecting" all family on one sofa the TV replaces individually-personal viewing of the necessary information in a network. Such dissociation of an audience generates requirement for constant augmentation of a genre palette of a teleproduct. From it the border between culture mass and elite becomes more and more transparent, there are boundary products and, accordingly, necessity of more difficult scheme of their analysis.

About a TV role in an ordinary life still right at the beginning 1960th years were spoken by V.Sappak. The presentiment about influence of this mass media on a wide audience it has reflected in the book «TV and we":" The TV still as if would be careful of movement of the life, it has not learnt to observe its process yet; and it is concrete - has not learnt to observe, watch, look out and - finally - to trust movements of human soul. Direct. Involuntary. A miscellaneous. To solve each person who has got to an orbit of attention of transferring chambers, in everyone to see the person, to see event - is not present, so operators and directors of TV yet do not understand the problem »[51]. The TV as one of conveyors of values, senses, vital norms and rules after a reality promptly changes a format. Teleinformation personification, active distribution of highly specialised channels, infotejment - all these tendencies are connected, mainly, with social transformations and with character of our daily reality. For example, personification of television messages helps to achieve the adequate and facilitated perception of the information, "simplifies" communications process. The personified messages promote designing of new knowledge, and also new possibilities and ways of translation of functional knowledge.

Occurrence and integration of new identity of the person becomes a consequence of these processes. In the course of personification the role of the concrete person as representative of a spectator audience considerably increases. One more tendency of a television aether is based on this property - crushing of channels on different orientations, distribution of highly specialised channels where at target audience definition program directors of television channels consider not only social signs, but also psychological features of spectators. Value and a role of screen arts (cinema, TV, video) increases in a geometrical progression. Today screen arts - complex means of development by the person of world around (in its social, moral, psychological, art, intellectual aspects), its aesthetic perception.

In a present television and network context modern thematic programs can be considered as the subject of preservation existing and formations of new national traditions. The TV as one of leading mass media of the present promotes process of social identification, and also forms culture of the separate spectator by means of the mounted reality. Some scientists fairly name a present situation revolutionary from the point of view of moral self-determination of each concrete person and human community as a whole. The narrow orientation of the information has generated set of the thematic programs, which steels of one of the most demanded forms in a tele-and a media aether.

Thematic musical programs, such as «Play an accordion» (the First channel), «LIVErn» Michael Kozyreva (television channel "Rain"), «Wanderings of the musician» (television channel "Culture") of a steel not only qualitative teleproducts, but also original artefacts of history. Their format allows to exist both in teleether space, and in network resources, thereby prolonging "life" of transfer and changing its communicative character.

Modern mass-media, and in particular the television channels calculated on a mass audience, play not last role in the course of formation both national traditions as a whole, and social stereotypes in particular. If to take in attention an initial stage - fastening process in consciousness of belief, «primary knowledge» people concerning qualities and lines of the person, the phenomenon or a thing it is necessary to consider more in detail model of creation and demolition of stereotypes in society. We should remember, that stereotypes are double-faced on the nature. On the one hand is a result of life experience, with another - it is extreme general concepts which can even contradict common sense.

In formation of stereotypes there is a typification process (with reference to image). Collective images of concrete people or literary heroes are created. Formation of stereotypes on modern TV has non-uniform character in view of total dissociation of an audience in narrower, specialised directions.

In the field of culture theorists allocate some groups of stereotypes. We will consider examples of display of stereotypes in potokovom telecasting:

Behaviour stereotypes (the regulated/is relative free behaviour) - traditions, customs, myths, rituals. Daily consumption from a teleether "surprising", "unusual", "exclusive" forms at the spectator accustoming to similar things and in some cases tearing away. So, the histories having criminal character, even in a morning aether cause not only tearing away of plots (and at times and indifference), but also an antipathy to the program and even the channel as a whole.

The programs constructed by a principle of demonstration of modern realities through history of one concrete person not only allow spectators to cause liking or an antipathy to the hero of the program, but also can become the strong motivating factor in the decision of own problems. People intuitively search for societies of others, similar to themselves and behaving the same as they. Television channel projects «the First documentary», programs «Great novels of the twentieth century» ("Culture"), «Fatherland and destinies» ("Culture"), «More than love» ("Culture"), «People who have changed the world» ("Rain") can become an example of such influence.

Perception stereotypes (stereotypes - case phenomena, background knowledge is important). This sort stereotypes are double-faced on the nature. On the one hand is a result of life experience, on the other hand - it is extreme general concepts which frequently contradict common sense («officials - dishonest, unpleasant people», «the power and the people speak in different languages» etc.). So, programs and films which have entertaining character, quite often use already developed schemes of stereotypic perception («6 shots» - STS).

Understanding stereotypes (than more close to interests and requirements of any group, understanding variants are especially similar). To be closer to the spectator, on air even more often place numerous remakes as on feature films («the Twist of fate. Continuation», "Sherlok Holmes", «Silent Don», «And dawns here silent»), and transfers («the Big washing» / «Five evenings» / «Let speak» - the First channel, "Windows" - TNT, «Judicial passions» - DTV). Modern colloquial style of dialogue of leaders erases a side between TV and it-lajn translation, the scenario and improvisation («Muses more and more. G olovomojka» - "Rain").

Dialogue stereotypes (phraseological units, figurative level, portable words). The lingvistiko-semantic analysis of names of teleprograms speaks about prompt introduction of "network" forms of dialogue in a modern television aether and further - in daily informal conversation. In many respects, of course, the leading part of introduction of verbal designs TV advertising has played.

As a whole it is possible to tell, that, promoting distribution of stereotypes and forming some, the TV has essential influence on process massovizatsii sotsiokulturnyh phenomena.

Massovizatsija television culture it is reflected and in news. At steadfast attention to new approaches in creation of information news plots, we will allocate features of direction of these materials. Preparation of a usual plot for news occupies much less time, the information becomes more accessible, the volume of the collected information increases, the direct transmission which has generated a new kind of news — not reports on events of day, and stories that occurs at present widely extends.

Researchers and theorists in the field of a mass communication consider news as narrativ, characterised by presence of the main and minor characters, "heroes" and the "villains", consistently developing action which has the beginning, the middle, the end, the marked drama turns in a plot and which corresponds to scenarios habitual for an audience. Paramount function of news - information. At the text of news there should be a presentation of author's opinion as authentic, but not verified knowledge with the further introduction in sphere of belief of the recipient. However Andrey

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Derjabin in work «as communicative event» speaks Television news about penetration of a joke, the legend and a parable into a genre of television news. We can observe such tendencies and in modern news messages. Infotejment, various kinds of interactivity - often used receptions of creation «gejmerskoj atmospheres» television [52 [53] discourses. Game - a basis of public dialogue as a whole and television in particular. «In journalism dokazatelnost and persuasiveness often fall outside the limits logic validity or motivation. Here for a refutation of another's point of view and the statement of the sometimes there is enough only high pathos. That is why the general aspiration of culture to the statement of the through negation of the stranger finds a favorable niche in a mass communication» [54].

It is important to remember always that the obligatory participant in a communication chain is the spectator. The result of work of the journalist depends on its perception. The perception the spectator of news occurs at all by a principle of reproduction of that version of a reality which is built media. «The film which we see on the screen, conceals in itself deep and, as a matter of fact, the unsoluble contradiction: it and the story about a reality, and this reality. But the story and a visible reality submit not only different, but also to structural principles excluding each other. The visible reality knows only present time - time" while I see ", - and real modalities» [55]. Designing by the spectator of a reality depends from its own diskursivnyh resources.

Preparation and transfer of the oral message to an aether are reduced to selection, editing and reproduction in a shot. Criteria of selection - public importance, the importance of an informed material or its informative value (at last, the account of such factor as "interesnost" - the informed fact can and not possess the special public importance, but for any of several reasons represent certain interest for a considerable part of an audience) [56]. According to the content-analysis of a television aether, [57] thematic structure of the all-Russian information teleether looks as follows: the social subjects dominate, on the second place there are political plots, then - the economic and cultural information. In comparison with 2004 there were appreciable thematic "shifts" as then news of a policy (52,2 %) were dominating, and 2,2 % were given to the economic information only. Similar changes speak about features of an information policy of the Russian television channels and the certain processes occurring in a society. On the Russian channels in 2004 it is possible to explain an abundance of the political information and such important event, as presidential elections. Too we could observe and in 2012: the share of news from sphere of a policy has considerably increased, along with social plots. According to researches «TNS» for a week from February, 13th till February, 19th, 2012 the greatest rating was established by the information program "Time" from February, 15th (the First channel)-8,1 %, a share - 20,7 %, where the main news of a steel of the message on entering by the president into the Duma of the bill of new rules of formation of parliament, that the number of claims against the captain and crew kruiznogo the liner "Kosta Concordia" has grown with 6 to 39, about a prestigious exhibition of dogs in the USA and that in Syria on February, 26th there will pass a referendum under the project of the new constitution. These news have been included in news blocks and repeated some times within days.

The way of giving of the news information allows to supervise level of its perception an audience. In applied sociology теоретики62 [58] allocate two kinds of influence which are actively enough applied today in mass media: it is a method of a fragmentation and immediate giving of the information. To apply a fragmentation method (or it still name a crushing method), it is necessary to divide all information into some fragments. In process of complication of television programs duration of each fragment decreases, that creates the contradiction between the valid event and that we see on the screen. The information submitted small fragments, does not allow the spectator to take advantage of it to the full.

The method of immediate giving of the information will disorient, allows to distract the spectator from really significant information. Quickly alternating «emergency, urgent» messages prevent audiences to analyse the submitted information and correctly to place accents. Television channels sometimes abuse «news pressure». Because of an information saturation degree of spectator criticality decreases.

The world screen often abuse for superficiality and all

Big distantsirovannost from the validity. Jean Bodrijjar wrote that the modern reality is changed by signs. «Actually it already any more real as it is not enveloped any more by any imagined. This hyperreal, the synthetic product radiated by combinatory models in a vacuum» [59]. The validity appears much more modestly "reflexion" on television screens and in a network.

As a whole as result "priukrashivanija" and massovizatsii

Information announcement at spectators the critical sight at the news information was generated. «It is faster" is absorbed ", rather than" is digested "» [60]. Complaints to brevity of the information and absence of the analysis are frequent, and these are first signs and lacks of the programs calculated on a mass audience.

With the advent of possibilities podkastov and potokovogo announcements in a network all it is possible to meet reflexions about diametrical contrast of the central announcement and provincial TV less often. Regional news began to have more informative character: journalists more actively

Address to a reporting genre, "decorate" the block direct inclusions. On the one hand, it is original returning to TV sources, but at the same time - original break to original journalism with pertinent use of potential of radio mass-media inherent in it for informing and education of the modern tempted public. Certainly, technologies of network placing of a telecontent have opened new possibilities and to products of elite culture. It is possible to notice, how everywhere occurs so-called "massovizatsija" elite culture, new possibilities of familiarising with original works of art (programs of a cultural-educational orientation are broadcast on air and are placed on a television channel site frequently in an easy approach) open. But even at obvious general availability it is conclusive valuable and the helpful information ratings of "elite" television channels are incomparably low (by results of researches TNS-global for 2012-2013 a daily average share of viewings of television channel "Culture" makes 1,5-1,9 %) [61].

In a context of media popularisation kulturnoprosvetitelskoj subjects network adaptation of visual, linguistic forms and other use of art expressive means of telelanguage is necessary for programs. Besides, the general tendencies of development of media space, certainly, have affected formation of the "new" spectator with special perception of the screen world inherent in it. Aesthetic education assumes the active form of influence at which both the author, and the spectator will talk in language, clear for each participant of "dialogue".

News media in a mass culture context gets extraordinary riches of forms of artistic realisation. To development of media environment there are changes in technology, character and language of dialogue with an audience. In some programs appreciable consolidation of an arsenal of expressional receptions is observed, and it directly connects TV with a special role in culture. The more widely the range of communicative possibilities of a news media, the is stronger its influence on sotsiokulturnye and psychological features of art creativity. The Internet became that universal integrating mass media to which the TV was no time. Today media environment includes in konvergentnom a variant all mass-media (the newspaper, magazine, TV, radio), but also - some kinds of arts: the literature, theatre, a photo. The TV and video gets into many mass-media, including printing, editors of newspapers and their Internet portals include in the publication not only photos, but also video illustrations to the text. Radio stations on the Internet pages in a network also place or references to video resources, or independent shooting of this or that event. Radio «Echo of Moscow» on the page has placed not only podkasty programs, but also sitivizor, allowing the spectator and the listener to look, that occurs in studio during program record, to see live reaction of leaders and visitors. To all other, spectators sitivizora have possibility independently to switch plans and to find the foreshortening which has liked them, that absolutely changes representation about character of perception of radio information. Certainly, cultural events which get to a modern media field, other sounding, rather than simple translation on TV get. Record viewing, for example, concerts of the Moscow philharmonic society in sitivizore, on the one hand increases dynamics of event. The modern spectator during viewing itself changes plans, creating certain comfortable for it personally temporitm telenarrations. On the other hand, sitivizor gives the chance to the spectator of all-round display of object.

The new field of existence of art culture assumes also new forms of interaction with the public who has changed after technology. These conditions force to change and art which is compelled «to search for itself» in other context - there where spectator expectations depend on mass media.

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A source: Oganesova Julia Arturovna. EXPRESSIVE MEANS of TELEVISION PROGRAMS of CULTURAL-EDUCATIONAL SUBJECTS. 2014

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  6. the purpose of studying, feature of construction of the maintenance and principles of teaching of orthodox culture in a context of introduction of a subject «the Law Divine»
  7. 1 Dialectics of relations of mass-media and the public in a context of probings of public opinion
  8. THE CHAPTER I predstavlennost YOUTH CULTURE IN STRUCTURE SOVVREMENNOGO OF THE YOUTH MASS MEDIA DISCOURSE
  9. APPENDIX D GRAVIDOGRAMMY (AUGMENTATION OF MASS OF THE BODY), OFFERED FOR THE ESTIMATION OF ADEQUACY GESTATSIONNOGO OF THE GAIN OF MASS
  10. 1.1. Mass-media as the factor of shaping of public opinion: the fundamental concepts of interaction of mass-media and an audience
  11. Ovaries: the Sizes of ovaries and their mass depend in larger degree on a stage of a sexual cycle, age and mass of an animal.
  12. structure of a discourse of business printing mass-media (information structure of business mass-media)
  13. Pregravidarnaja mass of a body and GUMT
  14. 2.2. A context and an ambiguity problem
  15. a political context in crimes against humanity
  16. Economic model of interaction of mass-media and an audience.
  17. the cluster analysis of given mass spectra SELDI-TOF
  18. the analysisof mass spectra
  19. 4.4.2. Mass of horns of a uterus.